Musings on video games, media, & sometimes research

One of my over-arching research interests involves how the appearance of video game characters effects the player-experience, as well as how identification with game characters effects self-perception on social-psychological dimensions.

Last fall, I started a pilot study (think of it as a trial or test-run) for an experiment where college-age, self-identified women played a video game where the character was either dressed in a sexualized or in a non-sexualized outfit. Essentially, the pilot’s main purpose was to confirm that my experimental conditions were reliable, or to put it another way, perceived as consistent when multiple people did the study. Because I was interested in exploring the effect of a game character’s appearance on self-perception, I wanted to be sure that people would consistently rate the sexualized character as, well, sexualized, and that the same character dressed in casual attire was perceived as non-sexualized. Thankfully, my pilot study confirmed this, and I was able to launch the full experiment in January.

While I did eventually finish the full experiment in April, I’ve yet to actually sit down and examine the results (but soon, after I finish analyzing my character design interview data!). However, I did find a somewhat unexpected – but nonetheless interesting – outcome from the pilot that sheds some insight on how a sexualized appearance of a game character influences their perceived skill.

The Pilot Study

For my experiment, forty-three undergraduates played the game Resident Evil: Revelations 2. All participants self-identified as female and the majority identified as White/Caucasian (81%). The average age of players was twenty years old. Everyone in the study played the Story Mode portion of the game for fifteen minutes. Following game play, participants filled out a questionnaire about the video game and the playable game characters, Claire and Moira.

As mentioned above, the pilot tested whether my conditions were reliable. Each participant was randomly assigned to either play as Claire and Moira in their sexualized or non-sexualized attire. Resident Evil: Revelations 2 was perfect for testing these two conditions because the story can be played with either characters’ default or bonus costumes (the player can switch between Claire and Moira in the story mode, as they both appear onscreen at the same time). For the purposes of my study, their default costumes were used for the non-sexualized condition. Claire’s bonus Rodeo costume and Moira’s bonus Urban Ninja costume were used for the sexualized condition.

After game play, everyone was asked a series of questions about the characters. I wanted to ensure that the characterizations were consistent despite the changes in attire. The only difference I hoped to find in the study was for differences in sexualization between the default and bonus attire conditions (which I did find). In addition to several questions about the characters’ attire, both characters were assessed based on six adjectives using a 7-point semantic differential scale. The characters were rated on the following: attractive/unattractive; strong/weak; aggressive/submissive; violent/passive; skillful/incompetent; good/evil.

No significant differences between the two portrayals were found in terms of Claire’s and Moira’s attractiveness, strength, aggression, violence, and moral character. However, significant differences were found for Claire’s skill, in which participants rated sexualized Claire as more incompetent (i.e. less skillful; Mean = 2.70, Standard Deviation = 1.75) than non-sexualized Claire (M = 1.63, SD = 1.01). This outcome was not the case for Moira.

This difference may have emerged because Claire is the main playable character who is capable of attacking enemies with a gun whereas Moira can only attack enemies with a crowbar. As such, most participants played as Claire for the majority of the time. The difference in Claire’s rated skilled by attire suggests that players may have deemed her sexualized attire as impractical for fighting zombies. This may have influenced Claire’s perceived competency as questionable given the game’s context in which a lack of clothing seems like poor judgement.

Costume and Context Matter

Although I was not anticipating any differences in Claire’s skill between the sexualized and non-sexualized attire conditions, differences did indeed emerge. What does this tell us? I think it stands to reason that the sexualization of female game characters as an expression of empowerment will not always hold for specific contexts. Given that Resident Evil: Revelations 2 is an action-horror game where the main characters are kidnapped and imprisoned against their will, seeing Claire in a state of relative undress likely enhances her vulnerability in the situation which could have an effect on her perceived skilled, or ability to handle the circumstance.

Claire’s sexualization had the effect of diminishing her perceived competency. Given that players were fighting zombie-like enemies in a run-down facility, her attire may have conveyed a lack of sensible judgement on her part. Given the outcome, I think it demonstrates the importance of considering how sexualization of a game character is interpreted within the context of gameplay. When a game presents a situation where a character is vulnerable and fighting for their survival, as with Resident Evil: Revelations 2, a sexualized appearance may influence whether that character is deemed competent enough to handle the situation. This is especially important for game designers to consider when creating a character they want to portray as skilled and competent, despite the overwhelming odds stacked against them.

Obviously, it should go without saying that a different game and a different character may produce different results. Furthermore, participants in this study went into the game ‘blind’ and were unaware that the sexualized Rodeo attire is a bonus costume not intended as the default attire worn by Claire in the game’s story mode. Her default attire in the story is non-sexualized, and it is a player’s choice which costumes they want Claire and Moira to wear in the game. Understanding this context, as well as enabling a choice of costumes, could also lead to different results. Expect more nuanced findings once I do the data analysis for the full experiment, in a few months!

Several weeks ago – not long after I returned from my first Game Developer’s Conference – I realized something important: I’d like to apply my social scientific research skills and knowledge of media theories towards games user research. I’m fortunate enough to be in an interdisciplinary Media School where I’ve established a good rapport with many of the faculty members in the Game Design program as an Associate Instructor and the Lead Intern for Women in Game Design. After considering that I had certain skills that might be useful to the student game developers in the program, I pitched an idea to Professor of Practice Mike Sellers: his game design students in Workshop I, the first major game development course required for all students pursuing the B.S. in Game Design, could benefit from UX analysis and thorough playtesting feedback. So why not receive a little help from a Ph.D. student eager for more experience in conducting this kind of research?

Prof. Sellers agreed that I could offer useful insights and a collaboration was born!

The first student game project I’ve playtested is Tori, a meditative music exploration game in which players assume the role of a small bird collecting sounds from a stylized environment made up of several small islands. I recently sat down with Joseph Adams, a developer on Team Tori, for my first playtesting session with Tori where I offered some feedback on general usability, discussed below.

Gameplay and Feedback

Currently, the ‘bubbles’ which represent the aura of sounds for different objects in the environment are all colorized the same – a pale yellow color. These sounds can be collected by the player and dropped, in bubble form, to a new location. The collection and re-placement of sound-bubbles is an integral mechanic of the game’s progression system.

Collecting sound bubbles in Tori

I suggested that the different objects, and thus sounds, might be color-coded, so that when player’s drop these sound-bubbles in new locations, they might more readily recall which bubble represents the sound attributed to a rock, bell, lantern, or other unique objects in the world. A color-coding scheme might be integral further into development, as players will be tasked with dropping sounds in new locations in order to replicate a tune provided by a non-playable character, in order to unlock new islands to visit and explore. As is, the placement of bubbles that are all the same color, especially when the player is expected to imitate a tune using the collected sounds, could get a bit confusing. Currently, there is no feedback that identifies what object the sound-bubble represents once it has be removed from the object and placed elsewhere in the environment. Color-coding the sound-bubbles to be unique based on the object of origin could simplify the identification process.

Particle effect on wingtips to signify increased velocity

I also noted that additional audio-feedback might improve player experience. Currently, when players fly downward, the speed of flight increases. This interaction is paired with visual feedback of a particle effect trailing from the tip of the bird’s wings – a ‘speed trail,’ perhaps. It’s pretty and conveys the message, but might be paired with an accompanying sound effect, such as rushing wind, to match the visuals and reinforce the feedback.

This particle effect was misinterpreted by a player during a recent playtest. I took notes, along with student developer Joshua Smith, during a session with university students who played Tori for the first time. We invited the players to voice their thoughts as they played, and a participant misinterpreted the ‘speed trail’ as visual feedback to signify when the bird is carrying a sound bubble. Thus, playing an accompanying sound effect (e.g. rushing wind) might reinforce the visuals as the effect of speed during flight.

All in all, Tori is a simple and beautiful game that shows a lot of promise for its unique aesthetics and features. I look forward to conducting more playtests with new users and discovering new ways to enhance the project’s usability and player experience!

Follow Team Tori on Tumblr & Twitter for more updates. Many thanks to Prof. Mike Sellers and Team Tori for collaborating with this video game researcher.

The Media School at Indiana University graciously featured some of my research that I’ll be presenting at the school’s graduate student conference on April 7th. I’ll be presenting during the Video Game Studies panel from 9:30 to 10:20 a.m. in Franklin Hall 312 along with fellow graduate students Alex Mirowski (Informatics) and Ken Rosenberg (Media School).

The Media School wrote:

Jess Tompkins, a third-year doctoral student at the school, will present her video game research, which is a textual analysis of fan fiction based on the popular game Call of Duty, a first-person shooter game in which the players are soldiers at war.

The game, Tompkins explained, is extremely male oriented and depicts a very specific type of persona known as “military masculine.”

“Fan fiction is a pretty active subculture, and it negotiates ways that contrast the main stream ideas imposed in the game, particularly around gender,” she said. “Authors insert female characters or create romantic relationships between two current male characters to get their own enjoyment out of the games.”

Tompkins took about 40 pieces of Call of Duty fan fiction and, using social psychological theories, examined the stories and wrote an analysis. Her work is set to be published as a chapter in a new book, Call of Duty Essay Collection.

I would like to kindly correct some inaccuracies given that I was not provided a draft to copy-edit prior to this piece’s publication. The specific concept is “military masculinity” (not military masculine), and while my research, in general, applies social-psychological theories, this particular analysis was largely informed by Stuart Hall’s notion of encoding and decoding as applied to media production and audiences. 🙂

I don’t think I ever got around to sharing the project I worked on for the Global Game Jam, so here it is. I did the programming/game design in Fungus and IU undergraduate Autumn Almeida created the artwork. You can download the 2D game from the Global Game Jam page under the ‘executable’ link.

Waves of Consciousness is a point and click adventure that explores the levels between reality and dreams. A little girl struggles to fall asleep and goes on an adventure in order to solve her problem. On this quest she runs into strange creatures and puzzles to solve.

We had a lot of applications this year and it was a lot of hard decisions but please congratulate our 2017 Scholarship Awardees. Thank you to Meggan Scavio and GDC for continuing the Scholarship program which gives 25 All Access Passes to the Game Developers Conference to organizations so they can assist with getting more people to GDC for a week of professional development.

It’s said in life only three things are guaranteed: death, taxes, and a new Call of Duty (CoD) release each year. The imminent arrival of each subsequent installment of the juggernaut first-person shooter franchise is heralded by entertaining live action trailers featuring fantasy gunplay and celebrity endorsements. These short but bombastic videos capture the high-octane gameplay that gamers have, for better or worse, come to associate with CoD games.

Yet the advertising of CoD in live action trailers arguably represents the systematic gender-biases present in video game marketing at large, especially for genres that assume an overwhelmingly male audience, as often the case for first-person shooter games. Even prior to the development of the live action trailers, masculine themes that marginalize women and homosexual men were emphasized in other CoD promotional videos. Let’s not forget the time Infinity Ward released a YouTube video in 2009 that disparaged the use of random grenade throws in the game’s online mode as a phony public service announcement sponsored by a ficticious organization called Fight Against Grenade Spam, or FAGS. While the video was quickly removed for its insensitive language, official promotional videos with homophobic undertones clearly stigmatize minorities from the CoD online community.

Activision, the publisher of the CoD franchise, has consistently advertised new releases for a predominately male demographic at the expense of female representation. I genuinely applaud the original live action CoD trailer for Black Ops (2010) for featuring a diverse range of male and female actors engaging in fantasy gunplay. The trailer showcases a diversity of body types and ethnicities equally kicking ass in an absurd abstraction of both authentic reality and actual video gameplay. Recent live action trailers, however, are noticeably (and unfortunately) less egalitarian. Modern Warfare 3’s (2012) live action trailer started the trend in “The Vet & The n00b” which starred Sam Worthington and Jonah Hill in the respective roles of the “veteran” and “noob.” Their relationship, in which the veteran trains the novice player/soldier in CoD tactics and weaponry, values skilled performance as a masculine ideal.

Indeed, men are typically active subjects in the narratives of the live action trailers while women are subjected to a male gaze that frames females as objects to be gazed upon. Actress Megan Fox was briefly featured in a CoD: Ghosts (2013) live action trailer titled “Epic Night Out.” While Fox is depicted as a tough, competent, and fiercely independent a male character blatantly flirts with her, emphasizing her role as a mere object for male pleasure. The men exit the scene after the male character’s unsuccessful attempt at chatting her up and she’s quickly forgotten about.

Roughly a year later, the CoD: Advanced Warfare (2014) live action trailer positioned a male viewership to “Discover Your Power” from the first-person perspective. While the actor’s face is never seen the hairy arms are noticeably masculine when the actor runs and guns across an advanced battlefield of the future. In the same video, the heterosexual male gaze is catered by the quick appearance of model Emily Ratajkowski, clad in tiny shorts and a belly shirt, after the character-viewer temporarily blacks out. The scene is used for humor when it turns out that the sexy visage is actually a slobbering goat – in other words, the trailer’s only female representation is actually a hallucination. In the world of Advanced Warfare’s trailer, power is the exclusive domain of men.

Cara Delevingne’s role in “Seize Glory” is an improvement on the formula.

Fortunately, the trend of objectifying women in CoD trailers is shifting, if somewhat gradually. Actress and model Cara Delevingne ultimately dominates the subject of the narrative, a male character named Kevin, in the CoD: Black Ops III (2015) trailer “Seize Glory” but only within the video’s final seconds.Some women viewers may certainly enjoy strong heroines like the ones portrayed by Delevingne and Fox. Indeed, they are framed as tough, badass, and capable of keeping up with the men (Ratajkowski’s sexualized appearance more the exception than the rule). Yet it remains that these advertisements offer a variety of masculinities on display – black, white, and overweight – while a particular type of woman, who is beautiful and conforms to a thin ideal, is given enough time and space in the trailers to please a heterosexual male audience, first and foremost.

Male victims of CODnapping receive access to games, big comfy chairs, and beverage service in “CODnapped.” Women are framed as potential obstacles to accessing these privileges.

A trailer selling downloadable content for Ghosts, titled “CODnapped” (a play on CoD and kidnapping), is the most egregious example of CoD as exclusively a “man’s world.” The trailer depicts a fantasy scenario in which several men are relieved of their everyday burdens by a clandestine military group who abscond them from the likes of attending a business dinner and shopping with a wife and baby. The objective of CODnapping is that these men might have uninterrupted time to play CoD: Ghosts away from their families and girlfriends. In this world, a variety of masculinities are interpellated as subjects while women are not even considered a group who might want to be “CODnapped” from their own mundane existence. Surely the women featured in the video – the female student driver, the wife and mother of a toddler, the girlfriend fussing over her appearance – might also need a relief from their daily pressures?

This November’s release of Infinite Warfare (2016) introduced a new live action trailer titled “Screw It, Let’s Go to Space.” While initially showcasing a number of diverse characters prior to the combat scenes, once the actual fighting erupts women appear far less frequently than men in the one minute and forty-six second trailer. The trailer is a welcome departure from objectifying women yet does little to increase female visibility compared to past commercials.

One of two prominent women soldiers who appear in Infinite Warfare’s “Screw It, Let’s Go to Space.”

So, why is this important – why scrutinze gender portrayals in CoD commercials? Especially given the fact that many gamers no longer take seriously CoD as more than just a cash cow? Representation in any medium is always important given that as humans we naturally identify with similar others. And given the contentious status of women in online gaming communities, where harrassment and hostility is not uncommon, would it really harm the franchise to acknowledge women players more broadly, to represent women in ways that disrupt stereotypes? To consider the female demographic as more than just an afterthought? These trailers started strong with Black Ops, dipped to an all-time low with Advanced Warfare, and addressed previous wrongs in Infinite Warfare’s recent commercial – but there’s still room for improvement. For CoD to diversify the range of representation within the live action trailers would go a long way towards conceptualizing CoD as a game for the “solider in all of us.”

Note: Gender and Call of Duty is currently a topic I am developing and wrestling with for a book chapter on the series. This discussion was originally going to appear in condensed form in the book chapter, which is actually more specifically about gender in the Modern Warfare games and associated fandom, but due to word-count limitations and a desire to have this conversation more broadly, I’ve decided to share this piece in blog format. And a disclaimer: I acknowledge that I am by no means an expert on the Call of Duty series at large. I’ve only played Black Ops, Modern Warfare 1-3, and Ghosts.

[Spoiler Warning: This post contains major spoilers for Star Wars: Republic Commando and Call of Duty: Modern Warfare 2]

What’s a Parasocial Friendship?

A good story and compelling characters can provide players with a sense of friendship and belonging within a gameworld. Parasocial interaction explains that audience members may experience one-sided relationships with mediated characters. In other words, spend enough time with a fictional character in book, movie, or video game, and you might just start to think of them as a friend. I’m of the position this effect contributes to media enjoyment; in my case, I’ve found that parasocial relationships with game characters can go a long way to differentiate an otherwise generic game.

With the interactive nature of videogames, the medium is particularly successful at inculcating such feelings. Perhaps one need only reference the “Garrus Vakarian is my Space Boyfriend” t-shirt to gauge the level of attachment some players may experience with fictional romantic pursuits in the Mass Effect series of roleplaying games. But what about games where character roleplay isn’t an option? Or for games that emphasize combat over narrative? Can parasocial friendships with characters make an otherwise generic military-themed shooter more meaningful?

Don’t let the space-marine armor fool ya, there’s a lot to like about Delta Squad.

In video games, such relationships are likely encouraged when a player-character shares a close bond with one or more characters. Military shooters often exhibit themes of professionalism, duty, and camaraderie between the player-character and their allies. These relationships, paired with gameplay that emphasize interdependency rather than independency in the military squad, go a long way towards encouraging parasocial friendships and empathy towards game characters. Importantly, this bond has implications for plot twists that disrupt the empowering fantasy of the traditional, first-person military shooter game. I discuss in the context of Star Wars: Republic Commando and Call of Duty: Modern Warfare 2.

#SquadGoals. The only Call of Duty cast that made me care about the plot are the Modern Warfare playable and non-playable characters.

Star Wars: Republic Commando

Star Wars: Republic Commando (2005; RC) is a squad-based first-person shooter (FPS), and probably the first FPS that I ever played and actually enjoyed. Admittedly, this gamer was already a diehard Star Wars enthusiast and sympathetic towards the clones prior to playing the game, but the excellent characterizations of the individual soldiers distinguish RC as particularly suited for ‘virtual’ friendship.

When the player assumes the role of Boss, the leader of Delta Squad, they give commands to his clone brothers Scorch, Sev, and Fixer on the battlefield. The player can position each member strategically to combat the enemies as a force. In my experience, RC is far more challenging when this feature is ignored as the mechanic emphasizes the role of the squad over the lone warrior. Importantly, when members of the squad go down for the count, the player can use a healing command to pull them back from the brink of death. Likewise, the squadmates can resuscitate the player-as-Boss, which enhances the interdependency of the squad. These game mechanics, which are fairly standard for squad-based shooters (Spec Ops: The Line also comes to mind), are paired with excellent dialogue between Delta Squad – usually incorporating humor to balance out the game’s rather grim tone – and emphasize the bonds among them.

Boss: [player in need of healing from squad] Need help, commandos…

Scorch: All right, but if I get shot in the back, I’m blaming you.

Sev: Damn, I don’t believe it!

Scorch: What’s wrong, Sev?

Sev: I’ve lost count of my kills!

Scorch: [Sev shoots a corpse excessively] Sev, did that corpse give you a nasty look?

Sev: Rule 17…

Scorch: We know, always make sure they’re dead.

Good mechanics and characterizations help make RC, or what could have been a generic FPS set in the Star Wars universe, stand out. As a player, I was invested in protecting my squad, not just to win, but because the gameplay and characterizations facilitated a relationship with Scorch, Sev, and Fixer. And I don’t think I’m the only one, either. In a ‘Let’s Play’ video of the game on YouTube, a gamer tells Scorch to “hold on buddy” during a heal and makes other statements to the squad amidst a particularly difficult assault. While commentary is standard for ‘Let’s Play’ videos, the one-way dialogue directed at a game character indicates a parasocial experience.

The character bonds are intensified by plot twists that disrupt the power fantasy of the FPS and emphasize the vulnerability of life (virtual or not). The expectation for squadmate healing and the “we’re better than the enemy we’re fighting against” bravado is painfully disrupted in RC’s finale. Just when you, the player-as-Boss, expects a beautifully executed victory, Sev goes missing in action. Boss, stricken and devoted, attempts to disobey a military order from the Jedi generals to search for Sev.

Boss: I don’t care if they [the orders] came from Master Yoda himself!

Clone Advisor: As a matter of fact, they did, solider! Now get your squad out of there.

Unfortunately, shortly after this exchange – even though the player-as-Boss might start running back to Sev’s position – the gameplay abruptly ends and a cutscene plays of the forced evacuation of the commandos. It’s frustrating as a player who starts to genuinely care about your squad and the fate of your missing brother, and the loss of Sev packs an emotional punch in the otherwise tidy ending. My concern for Sev lingered after gameplay and part of me will always pine for the RC sequel to address his whereabouts.

Call of Duty: Modern Warfare 2

Modern Warfare 2‘s (2009; MW2) story is easily dismissed as a jingoistic military jaunt but it’s a big-dumb FPS shooter where the characters are generally likeable and the missions intensify the squad interdependency. Although you play as several characters over the course of the narrative, I argue that the most memorable missions in MW2 involve playing as Gary “Roach” Sanderson of Task Force 141, partially attributed to potential parasocial feelings for the player-character’s allies.

At first glance, your superiors Captain John “Soap” MacTavish and Lieutenant Simon “Ghost” Riley look like one-dimensional masculine archetypes: a buff dude with a mohawk and another dude who is so badass he obscures his face with a skull mask and sunglasses. But there is a good amount of dialogue peppered throughout MW2’s levels that facilities an understanding of the bond between these characters that the player might also experience. It probably helps that Soap and Ghost are wonderfully voiced by Kevin McKidd and Craig Fairbrass, respectively, who always convincingly convey the drama of MW2’s story (and damn if their Scottish and English accents aren’t bloody amazing). As an aside, solid voice actor performances certainly enhance believability.

Although the gameplay of MW2 is not nearly as active as RC, in which you play the squad leader issuing orders, your mission objectives are integrated into a cooperative framework. The below exchange is just one example of the teamwork exhibited in the Task Force 141 missions. If you’ve played the game, compare how the dynamics change when you’re in the role of Private James Ramirez of the US Army Rangers, constantly following the orders of Sergeant Foley. The dialogue of those levels spawned an entire meme, after all (Ramirez, Do Everything!). Foley isn’t so much a friend as he is an announcer of game objectives.

Ghost: That’s the control room up ahead! I can use it to find the prisoner! I’ll tap into their system and look for the prisoner! It’s gonna take some time!

Captain MacTavish: Copy that! Roach, we’re on cell duty! Follow me!

[Ghost hacks into the control systems. MacTavish, Roach, and the rest of the team go down into the first level and engage hostiles while looking for the prisoner.]

Ghost: Alright, I’m patched in. I’m tracking your progress on the security cameras. [Ghost continues to provide remote support to the team as the others search for the prisoner.]

Not unlike the disappointment of losing Sev in RC, an unfortunate twist in MW2’s campaign disrupts the power fantasy at the same time it cinches a connection with a game character. In a harrowing mission to retrieve intel at a terrorist safe house in the level “Loose Ends,” the player is bombarded with waves of enemies. When the extraction team arrives heralded by the overseeing General Shepherd, the player-as-Roach must flee from another round of approaching gunmen and mortar fire, only to temporarily blackout after a near-hit by a projectile.

A cutscene interrupts the gameplay, the camera revealing that you-as-Roach are being saved by your lieutenant, who frantically tells you to “hang in there.” Gameplay resumes and you’re able to return the enemy fire for a brief moment as Ghost literally drags your avatar to apparent safety. Another cutscene displaces gameplay, as you see through the eyes of your wounded avatar as they approach the landing zone. Only the relief is quickly replaced by shock and horror as General Shepherd shoots Roach at point blank range, followed by the man who just risked his own life to save your avatar.

Six years ago I first played the game, and it still hurts to watch…

While this moment is one of the most infamous in Call of Duty history in terms of frustrating plot twists, the near seamless blend of point-of-view cutscene into gameplay that concludes with another point-of-view cutscene, as you see the final moments of your dying avatar from first-person perspective, is powerful in terms of narrative impact and produces an affective response in players. Just try to find a YouTube video of this scene that doesn’t include a “nnooo! ghost and roach are still alive!!!11” comment; those feels are real. Additionally, taking revenge later on Shepherd as MacTavish is particularly satisfying.

When I reflect upon these experiences of virtual valor in military shooters, there’s also a salient sense of belonging when the characters are convincing and well written. The parasocial bonds encouraged by memorable characterizations and engaging gameplay complement and reinforce the strong narrative impacts of RC and MW2. The unexpected disruptions of power fantasies, traditionally embedded into FPS games, are enhanced by feelings which mark the loss of characters like Sev and Ghost as meaningful. While these stories may seemingly offer little of value in providing deep insights on the moral and ethical implications of warfare, I think they’re rather successful at illustrating the painful costs and sacrifices of service (even at the expense of absurd plot twists).

The analysis offered here clearly glosses over some of the problematic themes embedded into these narratives. Surely one could argue military shooters – even in the Sci-Fi realm of Star Wars – glorify war, support the military industrial complex, and sanitize violence. But that’s another discussion entirely. My analysis here assumes that games are played for entertainment and are usually interpreted as such by rational humans, and that along the way, it might be possible to consider parasocial friendships in games as something that enhance storytelling, even within usually formulaic genres.

Originally posted to Destructoid community blog [minor edits were made to this version], where some good convos were had in the comments.